Polyphonic Perversity 8/12/2018

12-2pm on WXDU | playlist

A largely string-themed show today, connecting a 1959 Jimmy Giuffre album with strings (a prime find at Carolina Soul’s recent dollar record sale) and new releases by Eric Moe, Jonah Sirota, Sarah Bernstein, and James Gilmore.

Composer—Piece—Album (Label, Year: Performers)

Nenah Cherry & The Thing—Dream Baby Dream—The Cherry Thing (Smalltown Supersound, 2012: Neneh Cherry, vocals; Mats Gustafsson, saxophones; Ingebrigt Haker Flaten, bass, vibraphone; Paal Nilssen-Love, drums)

This Heat—Repeat—Repeat (This is/Cuneiform, 1979/1992)

Jimmy Giuffre—Piece for Clarinet and String Orchestra—Piece for Clarinet and String Orchestra/Mobiles (Verve, 1959: Jimmy Giuffre, clarinet; Sudwestfunk Orchestra of Baden Baden; Wofram Rhorig, conductor)

James Gilmore—Mayflower—Bag of Tricks vol. 2 (Out and Gone Music, 2018: Karen Strittmatter-Galvin, violin; Butler Knowles, bass; James Gilmore, guitar; Shawn Galvin, percussion)

Eric Moe—Uncanny Affable Machines—Uncanny Affable Machines (New Focus, 2014: Jessica Meyer, viola)

A.J. McCaffrey–Here Come the Waterworks—Jonah Sirota: Strong Sad (National Sawdust, Tracks 2017?: Jonah Sirota, viola; Molly Morkoski, piano)

Anna Thorvaldsdottir—Ad Genua/To the knees—Seven Responses (Innova, 2016: The Crossing; International Contemporary Ensemble; Donald Nally, conductor)

Philip Glass—1000 Airplanes on the Roof: The Encounter—Anthony Roth Constanzo: Glass Handel (Decca Gold, 1988: Anthony Roth Costanzo, countertenor; Les Violons du Roy)

Sarah Bernstein Unearthish—Map or Meaningless Map—Crazy Lights Shining (Phase Frame, 2018: Sarah Bernstein, vioce and violin; Satoshi Takeishi, drums and percussion)

Polyphonic Perversity 8/5/2018

12–2pm on WXDU | playlist

It’s always a good day when you can bliss out to the looping lines of a new album by the Necks.

Composer—Piece—Album (Label, Year: Performers)

Erroll Garner—Night and Day—Nightconcert (Mack Avenue/Octave Music, 1964: Erroll Garner, piano; Eddie Calhoun, bass; Kelly Martin, drums)
Willam Parker—For Julius Eastman—Voices Fall from the Sky (AUM Fidelity 1990?: Lisa Sokolov, voice; Yuko Fujiyama, piano)
The Necks—Body—Body (Northern Spy, 2018: Chris Abrahams, piano/keyboards; Tony Buck, drums, percussion, guitar; Lloyd Swanton, bass)
Henry Threadgill—Game Is Up—Double Up, Plays Double Up Plus (Pi, 2018)
Zkrabuj et Chou et Pâté—Zkrabuj—Live in North Carolina (Out and Gone Music 2018: Laurent Estoppey, saxophones; Luc Muller, drumset; Vattel Cherry, bass)
Robbie Lee & Mary Halvorson—Seven of Strong—Seed Traingular (New Amsterdam, 2018: Robbie Lee, chalumeau; Mary Halvorson, 18-string Knutsen harp guitar)
Norbert Rodenkirchen/Robbie Lee/James Ilgenfritz—Triage—Opalescence (Telegraph Harp, 2018)

Polyphonic Perversity 7/15/2018

12-2pm on WXDU | playlist

A show devoted to music by Croatian composers, in honor of Croatia’s appearance in the 2018 World Cup final. Very little has been written in English about any of these composers. But, from what I could find out, Yugoslavia was much more culturally open than other parts of Eastern Europe, which allowed a vibrant musical scene to flourish in Zagreb. The city hosted the Music Bienale Zagreb beginning in 1961, hosting major compositional figures alongside local musicians.

Composer – Piece – Album

Ivo Malec – Epistola – Epistola & Arc-en-Cello
Natko Devcic – Igra Rijeci 2 – Natko Devcic
Milko Kelemen – Abecedarium – Milko Kelemen
Dubravko Detoni – Phonomorphia II – Detoni Plays Detoni
Marko Ruzdjak – Musette – Zagreb Clarinet Trio
Ivo Malec – Ottava Alta – Exempla/Sonoris Causa/Ottava Alta

 

Palimpsests

Composed 2018

Instrumentation Open

Premiered March 31, 2018, Camp Rockmont, Black Mountain, NC

This piece was written for Polyorchard for their performance at the 2018 Black Mountain College {Re}Happening. The idea of the piece was to take piano scores by Cage, Messaien, Webern, Saariaho, Ligeti, and others, and remove all the notes and staves, leaving only articulations, dynamics, accidentals, and other miscellaneous markings on the page. The performers can interpret those markings however they deem fit.

Hallmarks, Sigils, and Colophons

Composed 2012–13

Instrumentation soprano, mezzo-soprano, alto, violin, violin/viola, cello, bass, flute/piccolo/bass flute, clarinet/bass clarinet, alto/tenor sax, bassoon, trumpet, bass trombone, percussion

Texts Eunoia by Christian Bök (texts used with kind permission of the author)

Premiered March 3, 2013

Program Notes

Oulipo (“Ouvroir de littérature potentielle” or the “Workshop for Potential Literature”) was a literary school founded in 1960 whose goal is to create literature based on constraints, word games, and other formal restrictions. Some Oulipian constraints include anagrams, palindromse, the lipogram, in which specific letters are omitted (this program note is a lipogram of the letter z, or at least it was before this comment); and the N+7, in which every noun is replaced by the seventh noun after it in the dictionary (“Lots of frogs hop from rock to rock: ‘frog, pond, plop’” becomes “Lounges of frontbenchers hop from rogue to rogue: ‘frontbencher, poodle, ploy.’”). Perhaps the best-known Oulipian work is Georges Perec’s La disparition, a novel in French that avoids the letter e, and the group’s membership has included such luminaries as Italo Calvino and Marcel Duchamp (an honorary member).

Christian Bök, while not himself a member of Oulipo, is certainly inspired by their methods.  His novel/prose poem Eunoia consists of five chapters, each of which only uses a single vowel—“Chapter A” uses only words with the letter a, “Chapter E” uses only e, and so on. He also insists that each chapter use at least 98 percent of the available words; that sentences must include a certain amount of syntactical parallelism; and that a certain set of events happen in each chapter, including “a culinary banquet, a prurient debauch, a pastoral tableau and a nautical voyage.”  He even goes on to suggest that, in an ideal world, he would use only each word once! Despite all those rules, each chapter has its own distinct grain and texture, and Bök succeeds. What interests me most about Eunoia, though, is the way it sounds, the curious palate that emerges when vowels are isolation.  In college, I had the opportunity to recite a few extended passages from the book, and I was immediately struck by the way my tongue and mouth felt afterward.  It is unlike any other language I have ever encountered.

Thus, this composition imbues vowels with esoteric, supernatural powers.  They are the hallmarks, sigils, or colophons which grace speech with the differentiation needed to produce meaning.  They also bestow upon each movement its own unique character and temperament.  Although my intent is not to mimic Bök’s rigorous constraints, I do attempt to evoke the idea of constraint in the music.  For instance, each chapter of Eunoia is dedicated to a creative thinker whose name uses only that chapter’s vowel: Hans Arp, René Crevel, Dick Higgins, Yoko Ono, and Zhu Yu.  Conversely, each movement of my piece is dedicated to a composer whose name uses all five vowels and whose music I found particularly inspirational for whatever was going on. Each movement’s flavor is derived from the sound of its vowel: “Movement A” is bright and brash, “Movement I” is clipped and flighty, “Movement O” is languid and serene, “Movement U” is full of guttural groans and drones, and “Movement E” is expansive and extroverted.  Of course, none of these characteristics are all encompassing, and every movement pushes against its frame.  I allowed the music and words take me where they would, using their own internal logic to propel me forward.

So consider Hallmarks, Sigils & Colophons an album of sorts.  Each movement is a self-contained whole within a larger self-contained whole.  Each can stand on its own, but all gain additional meaning through their collective interrelations.  The piece tells no overall story, but is rather a series of concatenated vignettes that occasionally fold back onto themselves. It embraces its heterogeneity. Like a good DJ, it knows that new things emerge when disparate sounds and genres grind against each other.

Floes


Composed 2010–11

Instrumentation piano, bass, drums

Recording Ethan Iverson, Reid Anderson, and Dave King of the Bad Plus, March 28, 2011. Recorded and mixed by Jason Richmond at SoundPure Studios

Program Notes

Movement across ice floes with flat edges is free, but you need a rope to leave or enter an ice floe with pack ice (you leave the rope behind on the tile you left). You can also swim across one stretch of open water by eating a fish (which is discarded).  The sun had just dipped into a fog bank and tinted the surrounding floes with brushstrokes of peach and magenta. Before us lay huge blocks of ice tumbled together like an upended box of Legos. The ice floes resembling towers and minarets may actually have been mirage-reflections of some weird and aeon-haunted alien metropolis at far remove… Floes are self-similar because they are composed of aggregates of aggregates.  I’d give a lot for taste of deep antarctic ice. Imagine drinking water that’s been out of circulation since before our species was born! In 1991, the Floes cleared the debris and cut the blackberries on their property and the disputed parcel back to a line approximately 15 to 20 feet from the drainage ditch. Please note: Cold Snap now has a base cooldown of 8 minutes, so 2/2 Ice Floes brings its cooldown to 6 minutes 24 seconds.

However, the seamless yet never ending layers of “Ice Floe” rage with ease. There’s even remnants of a pop song buried underneath all this glorious noise, one that’s marched on with armies of steal drums and washes of avant rhythms. The sound as the floe passed the hull seemed like someone trying to open the hull with a can opener! Several days later, when the surface wind speeds and computed stress at all four buoys dropped to ∼60% and e1 of their respective peak storm values, a counterclockwise rotation began at each buoy with a concomitant impulsive ambient noise peak. The rotationally‐induced “noise bursts” are called icequakes in an analogy with earthquakes. I was thinking, do you think it is worth it to take the 3 points out of ice floes and put it into arctic winds?

When people look at the name Floe, they might ask the question, “is Floe a man or a woman?”, or “what is the gender of the name Floe?” When an electric current floes through a long conductor each free electron moves? Where is the Army when you need it? The floes are now pressed further and further towards the shore … The southern wind helps … It seems pretty cool because of the humidity … I hope the wind will soon come from a different direction … To the ice floes, useless eaters!

Frog, Pond, Plop

Composed 2012

Instrumentation mezzo-soprano and piano

Text from Eunoia by Christian Bök

Premiered February 2012 by Jacqueline Horner-Kwiatek, mezzo, and Jung-Min Lee, piano

Written for Jacqueline Horner-Kwiatek